Full Code

You know those bands that are so underground and artsy that they have really obscure song titles filled with references no one gets and symbols that are impossible to search and therefore damn near impossible to find when you are trying to google them? The bands that seem to actually WANT to alienate their listeners to a certain extent in order to bolster their avant-garde cred? Those musos that write meandering, 10 minute long epics that usually get listened to for 2 minutes before skipping to that shorter song that you kind of like as well? Well, I’ve got a fucking real live one here! I know, I know, contain your excitement, dear readers, and I will lead you on an equally meandering (but hopefully not as long) journey through Full Code’s gargantuan offering, “Telescapes”. I appreciate that the intro was a little misleading, but trust me, you are going to want to check this out. Let’s do this!

So obviously, first up you will notice that this is quite a long album for only having 8 songs (two of which are interlude tracks…sort of), clocking in at a shade over 50 mins. Three 10 minute songs, one 8 minute song and a pair of 6′s awaits you upon pressing play…and it’s fucking GLORIOUS! Starting off with the individual elements, the vocalist is an endearing almagam of Maynard Keenan (Tool), Ian Kenny (Karnivool, Birds of Tokyo) and maybe a touch of Chino Moreno (Deftones) for good measure. He utilises nuances and homages to the aforementioned vocalists to form a uniquely blended vocal styling that is very pleasant to the ear, quivering vibrato and all. He also allies his rich vocal tone to a very flexible dynamic quality and stellar range, even showcasing a visceral scream towards the back end of Obsidian. Add to this already impressive package a keen ear for a tight vocal melody and you have yourself a Progressive vocalist par excellence.

The instrumentation is very distinct for a few reasons. The main reason is the very noticeable addition of an bassey oscillating synth, not unlike what you would hear in dubstep actually. There is guitars in parts, and when there is they are wonderfully well written and performed. This guy can really play, probably best exemplified in the solo section of Obsidian (about 7 minutes in) where he peels off some delightfully tasteful blues licks over a tasty understated bass grove. There are plenty of other sections that really showcase his ability, in particular demonstrating a real flair for grandiose clean sections such as the intro to Obsidian. The other instrumentation is delivered largely through an array of synth sounds and obviously the bass guitar. The bass player tends to sit in the pocket for the majority of the time, occasionally breaking away from pinning the groove to dash a little additional colour upon the canvas of Telescapes. The synths themselves are largely for effect, imbuing the whole album a real labrynthian ambience, giving you the sense that as you progress through Telescapes, you are in actuality traversing a myriad of twists and turns in an immense underground stone jungle.

I’ve left what is easily the most impressive individual element for last…because Jesus H. Fucking Christ is the drummer ever amazing! I’m not at all joking when I say the first entire listen through of this album was spent listening to the drums and the drums only. You know when you walk into a supermarket and there’s this bangin’ hot chick and then all of a sudden everyone around her just fades into the ether and you start fantasising about the dirty, wonderful, disgusting, borderline illegal things you could do to her given the chance? Yeahhhhh, that was me with old mate sticksman, and if I actually do find out where he lives there’s a VERY real chance that I’ll break into his house and he’ll come home to discover me naked on his rose-petal adorned bed with a nice bottle of Chianti and a chloroform soaked rag. I could pretty much write an entire review JUST for the exceptional array of jazz-inspired techniques and beats that he displays over the course of this album, but I feel as though it is suffice to say that they are absolutely perfect in every conceivable way. To change but a single stroke would be doing a great injustice akin to me never getting to caress said drummer’s glorious beard (I’m assuming here…these fuckers always have beards) while he whispers the drum tablature for Multiverse into my ear. * Sighs *…a man can dream though…a man can dream.

Now that we’ve gotten the instrumentation out of the way, let’s discuss whether this album delivers on it’s intentions and extrapolating that, whether it is successful as a result. I mentioned earlier that I had a sneaking suspicion that these guys have engineered this offering to confound and delight in equal measure with the intent to create a piece of art that alienates just as much as it engrosses the listener. The beauty of the Progressive genre at large is that a lot of the point is to create vast soundscapes that are not easily accessible, forcing the listener to concentrate much more. This has dual consequential outcomes. First, it requires you to digest it over a much longer time period than your standard 4-chord 3-minute song. Secondly, when you eventually do “get” it, it makes for a much more rewarding experience as a result. This is very true of Telescapes. There are fleeting moments of accessibility which then give way to much more convoluted fare, which in turn puts you into an endless cycle of harvest and introspection, culminating in the final “A-ha!” moment that comes with the final undulating warbles of Multiverse. It’s a truly engrossing journey that I would recommend to any fan of the Progressive spectrum.

So to sum up, Telescapes delivers on all counts. It has technicality, it has memorability, it has innovation and it damn sure has quality. What’s more, it sounds just amazing. The production is jaw-droppingly clear, which makes listening just that little more enjoyable again. I would definitely put this amongst the very best entries we’ve ever had grace the hallowed (…maybe not that hallowed) halls of IPHYB and if you don’t check this out, you are most certainly missing out on an upcoming band that should be much, much bigger than they are.

Vocals: 9.5/10
Guitars: 9.5/10
Bass: 9/10
Drums: 10/10
Production: 10/10
Lyrics: from what I could gather, they were vague and well written. Perfect for this style/10
Songwriting: 9.5/10
Overall IPHYB Rating: 9.5/10
Enjoyment Factor: 10/10 - Erised | I Probably Hate Your Band

What They Sound Like? In short, these four Melbourne-based Kiwi ex-pats deliver horizon-expanding rock with a healthy dose of prog. In long, the quartet’s experimentally-tilted yet densely-constructed compositions traverse territory that’s at turns atmospheric, visceral, and ear-opening; often across the course of just one of their epic tracks (averaging the 6-10 minute mark).
All the elements are there in their debut full-length release Telescapes, the prog rock lineage evident both in the surrealistic artwork (each track of the concept album getting its own sci-fi style portrait) and the production from Dan Murtagh (Dead Letter Circus, Jericco) and mixing master Forrester Savell (Karnivool, The Butterfly Effect).

Why You Should Care? Though their influences are often transparent (the vocals often recall Maynard James Keenan; the spiralling grooves and ambient guitars, Karnivool) Full Code still manage to fuse their individual pieces into something unique, often offering different approaches to tried and tested methods.
In moody masterpieces (with evocative titles) like ‘Archaeopteryx [Las Aras de Carmesí]‘ and ‘Aquautomaton’, Full Code guide the ear in with familiar hallmarks – tribal rhythms, processed guitar flashes, soaring vocals – but then skew them with extra frills like buzzing synth runs and skittering drum breaks. They’re no doubt a force to be reckoned with live and hometown Melbourne fans will get the chance to witness Full Code on the Espy stage at Progfest 2014 this month.

You’ll Love It If You Dig: Karnivool, Tool, Dead Letter Circus, Cog.

Tracks You Need To Hear: The ever-evolving shifts of ‘Obsidian‘ is a good display of Full Code’s full powers, but it’s the simmering six minutes of ‘(b)TtM²’ that’s the best entry-point. Listen below and check out Telescapes over at Bandcamp. - Tone Deaf

The Australian (or Australasian) progressive/alternative/experimental rock scene is a veritable feast for the senses, and has been for many years now. It continues to astound with just about every new entry into its now illustrious history, and another grand new chapter has just opened.

This Kiwi, now Melbourne-based, experimental four-piece are mining some rather unique ground on this, their debut album. You can detect traces of influences, but they are rather obscure within the context of their sound, and ultimately the output they produce is something completely their own.

If a simple, convenient classification is required, then ‘experimental rock’ may have to be it. But this is so much more than that. First of all, it remains highly appealing, and regular rock fans will find something to like here. At the same time, it creates an atmosphere that, once again, I’ve really not heard anywhere else. It’s like a boiling pot, where a weird and wonderful concoction of strange ambience, moody vocals, electronica, at-times frenetic drumming and quirky but epic songs are mixed together. But what is ultimately served onto your plate is eminently palatable.

Anyone who says anything along the lines of ‘nobody’s doing anything new with rock music these days’ needs to be given a thorough education, and Telescapes is a great place to start. If ever a single album could change the minds of the narrow minded, this is it. - Rod Whitfield | Beat Magazine

15 SEP 2014 // A REVIEW BY ANDREW SMIT

This album will blow your mind, a rock symphony that conjures up emotions and atmospheres that were once only in the jurisdictions of Pink Floyd. A bold introduction to some astounding Kiwi talent! Telescapes is full of imagination and scope, with chilling rock and synth driven grooves, a persuasive and new synth-phonic rock creation!

Opening like a soundtrack to a science fiction movie Aquautomaton begins with a spooky symphonic prelude but soon were awoken to some prodigious synthesiser and drum grooves and when the guitars kick in with a vigorous rock style you know your hearing something formidable, and so it grows. (b)TtM2 again starts with nice atmosphere music but soon builds nicely and then it’s like a rock band on a flatbed truck driving on a grinding bass synth highway, with expansive guitar licks, drum rolls and magnificent searing vocals from Steve Berry, a tour de force. Then we have a short instrumental palate freshener to prime us for the 10 minute Archaeopteryx [Las Aras de Carmesì] an impressive epic that begins elegantly and gently builds, about half way in the bass starts to ramp up the rhythm, more chilling guitar riffs layer over the track with great effect, it finishes as it began with gentle guitar and orchestral relaxants. This is the heart of the album and where I considered how good the album sounded, and how cool it is to experience high quality original compositions of distinctive progressive rock.

Next up is Lion, expansive atmospheres and feelings are conjured and cajoled by its tight hypnotic rhythm, there is a definitive bass driven beat that drives the song along, with a liberal spread of synthesiser groans and grinds. A weird jungle filler with indistinct chatter a’ la Pink Floyd leads us to the deceptive Obsidian a wonderful jazz funk number bursting with sweet guitar and expressive vocals, there is an explosive angry spurt in the centre (which is very cool) but mostly we are treated to great jive rhythm and jazz guitar work from multi-instrumentalist Greg Geeves. We end with the masterful Multiverse with stunning sustained lead guitar, and more cool funk rhythm. Steve’s stylish vocal punctuates the driving sound with clarity and strength, and combines magnificently with the progressive funk groove sound, when he raises the tension in his voice it adds a power that provides a pinnacle for the song to descend and drift into its softer conclusion.

I enjoyed escaping into the world that it conjured up for me, so I recommend you make the effort to listen to it, as it's worth the trip. - MUZIC.NET.NZ

4-piece band hailing from Australia, Full Code play an elegant modern progressive music. ‘Telescapes’ is their very first record and showcases the band’s appeal for refined and contrasted moods.

Though complex in essence, their music remains focused and digestible thanks to warm vocals, a drummer more interested in keeping it collective than jamming in his corner, and pensive guitars.

With a tension brought by threatening keyboards entering like the thirteenth at the table and a serenity to which bright scintillating guitars contribute, ‘Telescapes’ is a field of many contrasts. Those opposites are also present in the vocals, that can vary from enthusiastic or dreamy to alarmed. What strikes first and foremost, is the exceptional drumming. In fact, the drummer doesn't play, he LIVES his instrument, as if it were part of his body. He is indeed able to skip from one rhythm pattern to another one in a blink of an eye and without awkwardness. A first-class drummer that contributes a lot to the elegance of the structures.

Thanks to “possessed” and versatile vocalist and an overall atmosphere akin to Tool or its melodic little sister A Perfect Circle, Full Code transport us to lands of dark tranquility, where a sunny weather is often covered by black clouds, both elements coexisting nonetheless together in harmony. We are amazed by the stunning images and sounds that offer to our imagination. Once the chapter closes, we wake up as we had left an unforgettable dream. - Prog Sphere

ve you ever wondered what it would sound like if Tool and Pendulum circa In Silico had a lovechild? I hadn't either but Melbourne's Full Code came along and answered that unasked question anyway and I'm glad they did.

I had never heard of this band before they emailed me and I have to say I am eternally grateful. I've listened to dozens of albums that have come out this year, literally hundreds of albums this year overall, but this is top 5 material for sure and very possibly album of the year for me. The marriage of beautiful and powerful vocals, oscillating synths and drumming on a level beyond human yet so human has created a masterpiece for the ages. I realize I recommend a lot of music on here (and in real life if you know me out there) but if there's one album you NEED to check out this year regardless of your preference this is it.

To tell you a little more about the music instead of just frothing at the mouth over its greatness the album has two interludes that are just over a minute and except for those there isn't a song on it under the six minute mark, two of them even surpass ten!

I'm guessing the guitarist plays the synths as the guitars and synths rarely co-exist which gives the album a sound of its own since a lot of parts are lacking a guitar track. Don't think that means the songs are lacking as the absence only makes the guitar sound more powerful when it comes around, the same goes for the synths. The riffs are memorable, catchy and most of all serve the songs perfectly whether they're played on a guitar or a synthesizer and the latter often comes with the distorted oscillating sound often attributed to dubstep these days but don't expect samples and bass drops here.

Speaking of bass, the bassist really fills the space when the guitar drops out, supports the synths very naturally and keeps the grooves going along with the drums. While it doesn't do a bunch of solos or grab the spotlight frequently neither does the guitar for the most part. Both sit comfortably with their own place in the mix and the songwriting along with everything else, creating a great balance within each song.

As I mentioned the drumming being on "a level beyond human yet so human" I feel like I have to address two things regarding that statement:

1. Yes, that is a Diagnose: Lebensgefahr reference.

2. This does not mean blast beats and 32nd note bass drum hits.

The drumming is simply perfect for every moment. Whether it's a proggy groove, a drum'n'bass-esque beat or a subtle beat building the tension of a calm part every hit, every fill and every silence he backs out of is there filled with purpose and meaning which is not something I say that often about drumming.

The vocals are at times very reminiscent of Tool and Karnivool but I still feel like they have a character of their own in spite of that however, that said, there are a couple of parts where the riffs, drums and vocals remind one of Tool. They remind without sounding ripped off though so it's not a problem at all for me at least (keeping in mind that I've been a Tool fanboy since I was 12 years old).

If I had to name flaws to the album I can say that the interlude "Jønn Jincke ¿" doesn't really do anything for me and I kinda wish they'd developed the earlier, ambient, interlude "If you feel planet" into a full song. Those qualms are minor since one of them is that a one minute twenty seven second song isn't that great (i.e. not even bad) and that another one and a half minute song is cool enough for me to want more.

Does this review come off as fanboy-ish and asskiss-y? Probably but I honestly love this album and while an album filled with 6-10 minute long songs may be a hard sell for pop music lovers I would still safely recommend this to pretty much anyone willing to give it a go so give it a chance and tell your friends.

The full album is available physically and digitally on Bandcamp and if you dig this but haven't really listened to Pendulum or Tool, In Silico and Lateralus are waiting for your attention somewhere out there.

The Bandcamp player starts on the last song so if you haven't been listening to the songs I posted to break up the review I recommend starting at the beginning as it really is a great album from beginning to end. If you have there is still the full version of (b​)​TtM², a couple of long songs and the interludes to go.

Hope you all love it as much as I do.

Jón Þór - Daedric Influence | Jón Þór